The Season includes three other premieres away from the Royal Opera House in collaboration with a range of partners, co-producers and co-commissioners. Handel’s Oreste will be performed at Wilton’s Music Hall by members of the Jette Parker Young Artist programme.

The 2016/17 Season also sees Antonio Pappano renew his contract as Music Director of The Royal Opera until 2020. Pappano will conduct five productions during the Season, including three new productions.

The 2016/17 Season programme marks The Royal Ballet’s 70 years as resident ballet company of The Royal Opera House. The Company’s seven-decade association with the theatre will be celebrated with performances of The Sleeping Beauty and Symphonic Variations. Also celebrating an anniversary during the Season is Wayne McGregor, who marks 10 years as Resident Choreographer of The Royal Ballet with his aforementioned new one-act ballet set to a commissioned score by Steve Reich and revivals of Chroma, Woolf Works and Carbon Life. McGregor will also create a new work in celebration of Chance to Dance’s 25th anniversary as well as mentor young choreographers Charlotte Edmonds and Robert Binet, who will present new commissions in the Clore Studio.

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Really excited about Handel's Oreste being performed at the Wilton's Music Hall! Can you forward me some more details about this so I can buy a ticket? The web-link seems not to be working on my computer. Looking forward to Otello also and good to see Pappano back!

Well, wait and see... In an interview published in the French Opera Magazine, Kaufmann says "In the future, it is obvious thatI I will sing Enee, Otello and Tristan". Well, in 2012 Kaufmann was cast at ROH as Enee in Les Troyens, but his name suddenly disappeared from the programme and in the end, without any explanation or excuse, the role was sung by Brian Hymel!

Still very new to all this but was genuinely looking forward to the announcement of the new season and there is a lot I plan on going to watch having now gone through it. Hopefully there is plenty for the seasoned veterans too.

It might be if she doesnt turn up (or has a party (sorry.... is indisposed)...actually hang on that goes for both of them. I have now learnt to book for the Opera not the singers through past experience. Lots of good stuff to look forward to.

If you could lower prices and make more available to poorer people it would help a lot of people but for most it is out of reach. For many who do not live in London there is the additional expense of transport and hotel etc so it is just a dream for many.

I live in Birmingham and often get to the opera for around £25/30 including travel and ticket! If you get in quick when they go on sale there are plenty of tickets for around a tenner. You can live the dream if you get organised and set a reminder for the time the booking opens! I got a £9 ticket to see Netrebko in Boheme but had to get up at 8am on my day off haha! It was so worth it...Good luck and happy viewing!

Absolutely delighted that Woolf Works will be back - it was an overwhelming experience, unlike any other ballet I've seen. And a McGregor triple bill that includes the astonishing Chroma is a must-see. Pleased too at the chance to see some William Forsythe. Would have liked to see some early Ashton or another of the less familiar MacMillans (Anastasia is welcome) but, really, no complaints.

My wish has been granted , I have always wanted to see MacMillans Anastasia ; the fact that Mayerling is also being produced , is a fitting reminder of both the political and personal events surrounding the fall of the Habsburgs , Romanovs and the birth of a New Order .

WHERE ARE ALL THE BEAUTIFUL CLASSIC BALLETS GONE TO? BARELY A HANDFUL AND ALL THE LOVELY CLASSIC OPERAS ALL USING TRADITIONAL PRODUCTIONS WHICH NO PRODUCERS EVER SEEM TO BEABLE TO DO ANY MORE. AHH THE GOOD OLD DAYS.

Unfortunately I am not as thrilled about the new season as some of the other posters appear to be. Besides Otello with Kaufmann, there's nothing that really whets my appetite. I was really hoping Joyce DiDonato would be singing Semiramide (or anything, for that matter). Norma is one of my favourite operas and though Calleja and Ganassi gets my hopes up, I am just not sure Netrebko will be apt for the task. If her performance of Casta diva on YouTube is anything to go by, the prospects are not looking great.

Obviously thrilled by the prospect of Otello ~ which I have never seen; but looking forward to the revival of John Schlesinger's production of Les Contes d'Hoffmann too which I have & thoroughly enjoyed.

Full details of the territories and individual venues will be released over the next few weeks – with tickets on sale next month.
In the meantime, you can find all the productions and dates of our upcoming cinema relays here: http://www.roh.org.uk/showings

Don Carlo, Il Trovatore and Otello, for example? They're all being done too. La Traviata is a banker. It helps, massively, to balance the books. In the scheme of things, and looking at a season that also includes a new Adès, the return of Written on Skin, The Nose, a new Meistersinger, etc etc, what's the problem?

Brilliant program, chiefly for the Opera (a bit more "routine" for the Ballet). My only disappointment is the absence of Simon Keenlyside, who will sing 3 operas in Vienna but none at the ROH. Apart from that it is globally a very attractiive and exciting season.

Not to mention that we've had Tosca and ll Trittico this season. I might make a plea for 'different' rather than 'more' Puccini, only in that it would be good to see La Fanciulla del West again before too long. I doubt we'll ever get a Villi or an Edgar here, but that's no great loss!

my message of yesterday seems to have disappeared .I had asked when the bookings would open for the May and June 2017appearances of Pretty Yende in L'esire de Amore. there is a group of people wanting to fly over to attend . if I am commenting on the incorrest thread would you be able to re-direct me? I thank you

It comes as a pleasant surprise to see a more classically based ballet season than we have seen for some time. I assume or perhaps that should be hope that the choice of repertory for the 2016-17 season means that the younger dancers will be given the opportunity to develop as artists by being cast in roles such as Lise and Aurora..

Many ballet goers have been disappointed that the current revival of Giselle has seen only one debut in the title role by a company member. I trust that we will not be similarly disappointed by casting decisions next season.

If the company is to developed its own leading dancers rather than buying them in from other companies who are prepared to put in the necessary time and resources it needs to do so working from the bottom up. I trust that we shall be seeing a number of debuts in major roles by company members during the coming season. If that happens I shall be happy. If it does not then I shall end up being as dissatisfies about the ballet programme for 2016-17 as I feel about the forthcoming opera season.

The problem with the next opera season is that when you read the opera titles it does not look too bad but when you go into the details of directors and casts it becomes considerably less enticing..